By P. Kuppers
Performances in hospices and on seashores; cross-cultural fantasy making in Wales, New Zealand and the U.S.; communal poetry between psychological wellbeing and fitness method survivors: this e-book, now in paperback, provides a senior practitioner/critic's exploration of arts-based learn procedures sustained over greater than a decade - a refined engagement with incapacity tradition.
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Extra resources for Disability Culture and Community Performance: Find a Strange and Twisted Shape
It’s this rhetorically heightened straightness that provides much discussion room for the ‘real’ of disability. It is important to mark that disability culture hosts a much more varied spectrum of attitudes to ‘the mainstream,’ to reasonable accommodation, to difference and its potential to reshape the world. Some disabled people aspire to a liberal ideal of equality for all, a subsumption into a society that makes space for them. Once accommodated and in ownership of full citizenship rights, they are free to live ‘ordinary’ lives.
Stairs are not designed as places of location (an exemption are the grand stairs in both manorial halls and in some TV shows, where the hosts greet guests from the elevated position of the stairs, or where people are arranged in lines signifying center and margin – TV show host and dance troupe). To hover in these spaces often signifies hidden activities in TV dramas: a person witnessing a family fight, clutching the railings of the stairs, or people listening at doors in hotel corridors. Stairs can be a place of danger: in The Spiral Staircase and in Vertigo, the stairs reference disability and trauma as transitory life events; in both instances, the disability is ‘cured’ by a repetition of the physical transition.
Durational labor means that boredom and surprising connections emerge side by side. There’s drift and tension, but something moves. In the Burning project at the heart of these two chapters, an emphasis on energy transfer, on energetic exchange, creates a glimpse of a political project that helps to articulate the project of the rhizomatic model of disability. Part 3 deals with time and touch, themes that echo through the Anarcha and Tiresias (Part 4) sections of this book: willful histories, impossible mourning, backward glances that do not revictimize past people, or create new hagiographies, saints’ stories, out of disabled lives lived under restrictive regimes.